Typically, I reach out to artists I encounter in my online wanderings and ask if they would like to share their thoughts and work with our community. However, we also consider submissions, and when I opened my inbox and saw this work from Seb JJ Peters, I was simply astounded. I immediately scheduled this interview and learned about Seb and his process.

Can you introduce yourself to our readers? What’s your full name, where are you based, and what mediums do you make work in?

I’m Seb JJ Peters, and I’m a photographer based between London & Bristol in the UK, and pre-pandemic I was working as a music & portrait photographer, mostly in the london jazz scene. In terms of mediums, I should probably add household objects like baby oil nowadays, the way a painter would say they use oils or watercolour or whatever!

I absolutely love the results of this project where you are shooting through glass coated in different substances. Was this an idea you had prior to the pandemic or did it arise from the limitations imposed on us by lockdowns?

I’ve always loved abstraction, I first learnt photography by shooting on the street and would always look for things to shoot through - if anything I’m slightly annoyed at myself that it took as long as it did for me to think of trying it out like this.

The effect is very pleasing to the eye, painterly. Can you describe the process you are employing to achieve this?

Thank you! So, it is a slightly convoluted process, but simply: I have my subject on a video call on my iPad, which laying on its back beneath a hard plastic sheet (I took it out of a picture frame), and then I just start getting liquid on there - sometimes baby oil, honey, agave syrup, soap, you name it! I’ve spent too much time walking around my local supermarket staring through bottles of liquid trying to work out what kind of distortions they’d make, ha!

I started shooting them with a 40 year old adapted macro lens, but I wasn’t happy with it, so I used my sharpest and closest focusing prime lens, and it’s as simple as that! I also have to reduce the clarity a little in post, as otherwise they’re just a little too wet looking.

Fascinating, so many different technologies and laws of physics coming into play.

It’s been a huge learning curve, I never thought I’d spend so much time looking into the refractive properties of balsamic vinegar, but it’s been an unpredictable year.

I always love shooting in the rain because it makes everything look more painterly. You’ve found a way to do that in studio and it’s beautiful. What sort of mediums or art forms do you draw inspiration from in your work in general?

I’ve never visited New York but I’ve been there vicariously through your rainy imagery! I’m a huge fan of cinema (but what photographer isn’t, really), but I’ve grown being a huge fan of both classic painters and contemporary illustrators and animators - you actually recently featured Anthony Rondinone, whose work I ADORE.

Ah yes! Actually your abstracts reminded me of that interview.What do you think are some advantages and disadvantages of our hyper connected social media age?

I think it’s really complicated! On one side of it, I think we’re hugely overstimulated all of the time, but on the other hand, I’m a high risk individual at the moment, and I haven’t seen a friend in person since March 13th, so being able to reach out to people I know (and people I didn’t know beforehand) with an excuse to chat and virtually hang out has been an absolute blessing in the recent months.

Yes, like everything in life it’s a double edged sword. And in these unprecedented times it’s a great gateway to ideas and artists and friends. I mean, we wouldn’t be having this chat without it. But it does consume so much of our time, emotion, and attention. When did you first realize you wanted to lead a creative life?

I couldn’t agree more! I think I’ve always wanted to do something creative - I was really into music at school (I ended up doing a music course afterwards as well as a getting a music degree), I wrote and self published a terrible fantasy novel when I was 15 or so, but it wasn’t until only a few years ago that I picked up a camera, and that’s when something really started to feel like it stuck for me.

I think it’s because it was to do with people - with music you often spend hours or days on end alone, and I think that wasn’t particularly good for me because I’m just genuinely fascinated by people. If I could have a chat with and take a portrait of a new person everyday, I think I’d genuinely be happy with that!

I should point out that doing anything creative professionally always seemed like a fantasy - I grew up extremely, extremely poor, but despite that my parents let me pursue creative hobbies and for that I’m immeasurably grateful.

Being encouraged is such a wonderful gift. Glad to hear that despite those circumstances, you were able to pursue the things that spoke to you and had support from your parents. What advice would you give to young creatives who are thinking about dedicating themselves to a creative lifestyle?

I know everyone says it, but just do it! I think we all fall in the trap of waiting to feel ready for something, but the sooner you get out there and make a mistake that feels catastrophic, the sooner you’ll realize that it’s just a part of getting closer to wherever you wanna be. And remember to take a day off sometimes - easy to forget but it really is the most important thing because good work takes time, and you won’t last long if you burn out too quickly.

It was great learning from Seb JJ Peters here, and hearing how the unpredictable circumstances of our world can lead to new innovations and ideas. Make sure to connect with him on his Instagram and check out more of his work on his website. To submit your own work, email dave@allships.co.